Linzi Conway is an Irish textile and mixed media artist whose work is inspired by Ireland’s landscapes and coastal life. Her creative process combines paints, textiles, hand stitching, and free-motion embroidery to produce richly textured artworks that are both visually striking and tactile.

A distinctive aspect of her practice is textile memory commissions, in which fabrics from meaningful garments are transformed into handcrafted artworks that honour personal stories, milestones, or loved ones.

What’s a typical day in the studio like for you?

Threads, Textures, and Tales: A Day in My Studio
I would love to say my studio is always a serene sanctuary of quiet inspiration. While that is partly true, the reality is a space that is beautifully bright, often wonderfully messy, and always a whirlwind of emotion and hard work.

Every day is different, but the common thread throughout is a constant conversation between my head, my heart, my hands, and the materials before me. Here is a look at what that life looks like from the inside.

The day usually begins with building mood boards—layering scraps of fabric and thread to complete a scene. I am drawn to the tactile nature of linens and tweeds, and the comforting warmth of wool. I’ll admit that I am a fabric obsessive. I am always searching for the perfect materials, unique embellishments, or a rare remnant discovered during my travels.

For me, it is about how these pieces work together—their colour, weight, and history. Whether they are pre-loved, upcycled, salvaged, or luxury finds, every scrap has a story. I never grow tired of diving into my colour coded treasure boxes to find the exact piece that fits the piece and story I’m trying to create.

Once the materials are selected, I move the background fabric. I use paints to wash background scenes onto the cloth, creating a soft colour tones that will eventually be brought to life with thread, applique and layers.

My day often involves a mix of sketching, painting. cutting materials and machine stitching to build structure and strength into a piece, followed by hours of hand stitching. It isn’t always glamorous. It is a true test of both patience and precision.

While my sewing machines are vital tools, I adore the meditative, mindful process of stitching by hand. There is something mindful about the hundreds—sometimes thousands—of tiny stitches that build a scene. It is a “slow art,” and that is exactly why I love it.

Of course, studio life also involves less artistic moments: the constant re-threading of needles and the occasional, painful process of ripping out an hour’s worth of work because the “flow” wasn’t right. Sometimes, I have to walk away and return with fresh eyes. But even in those moments of starting over, I let my imagination follow the feel of the fabric to build the textures that I want.

The most rewarding part of my day is the time spent with my clients. I love helping someone select a finished piece that speaks to them, but my heart truly belongs to memory commissions. Whether I am incorporating a fragment of a loved one’s clothing or stitching a landscape to commemorate a life-changing event, these projects are deeply personal. There is a special magic in sitting together with a client, looking through pre-loved materials, and hearing the stories they carry. Together, we decide how to best “stitch” those memories into a tangible piece of art.

By the end of the day, my fingers are tired and the floor is inevitably carpeted in thread clippings. But as I look at the layers of paint, fabric, and stitch, I feel an immense sense of gratitude. To be able to do what I love, and to hold client stories in my hands, is a privilege I never take for granted.

What do you like most about your work?

Without doubt the memory commissions. It can be nerve wrecking cutting precious fabrics that hold so many memories, but knowing that these pieces bring comfort and peace to families is such a special part of what I do.

What do you like least about your work?

Ironing fabric and ripping out stitches!!

What’s your favourite craft item in your home?

Christmas baubles that my daughters made as children still have a proud position on the tree every year, or ceramics they have painted. I love pieces that carry meaning, which is why I am so drawn to memory work.

Tell us about your first craft item you made

My mother taught me to knit and sew at a very young age and I haven’t stopped since. I remember making dolls clothes, sewing eyes and ears on rescued teddies from jumble sales and dressing them. I always loved experimenting with adding colours and textures to scarfs and making little brooches and had multiple projects going at the same time.

Who is your inspiration?

I run a local art group, East Coast Sketchers, and love spending time with other artists, as that helps with new ideas. I love absorbing myself in artist books and classes just to soak up all the ideas from like minded people.. Though my family without doubt are my biggest supporters and inspiration.

What advice would you give someone who is considering this craft career?

You are never too old or too young to start. It takes a while to find your passion and artistic style, so sample lots of different art forms, visit galleries, take classes, spend time with other artists and always bring a camera and sketch pad wherever you go!

Where do you get your inspiration?

I love bright colours and textures and always inspired by the Irish coastlne and landscape. Living by the sea I have endless opportunities for new artwork.

Is sustainability an important aspect of your business?

It is a big aspect of my work as lots of the materials I use are salvaged from charity shops and upcycled materials. I also love the fact that the pre-loved fabrics in my memory works go on to create a family heirloom.

What’s the most challenging part of your craft?

The most challenging part is the intricate 3D embroidery art that I use to embellish my work as this requires patience and focus.

What made you choose your discipline?

I have sampled probably every aspect of arts and crafts, taking classes and workshops. No matter how much I enjoyed each always loved the feeling of fabrics, wools and texture. My work is unique in that its brings lots of disciplines together in a tactile piece of artwork.

Have you ever had a “happy accident” while making something?

Oh yes! I think every artist can relate to this. A piece of work that you throw in the back of a cupboard that you don’t like and when it is left for a bit and brought back out you can see potential again.

I sometimes start a piece of work with a size in mind and it can become something much bigger, or another piece of work that I like the details from can be cut out and used as embellishments in other work. I never throw out anything!!. Every scrap of fabric can find a new life form.

How do you balance creativity with the business side of things?

I am very lucky to have come from a business background, so enjoy working in the business and on the business.

I feel it is so important as an artist to network with other artists and build a community of support and that is what DCCI offers. Being an artist can often be lonely, working in isolation and also finding the time to research opportunities can be restrictive. Again. this is exactly where DCCI membership can bring that support to you. For me personally I also wanted to showcase my work on an all Ireland basis and expand my connections, so a vital reason for applying to become a member.

I feel it is so important as an artist to network with other artists and build a community of support and that is what DCCI offers.

Being an artist can often be lonely, working in isolation and also finding the time to research opportunities can be restrictive.

This is exactly where DCCI membership can bring that support to you. For me personally I also wanted to showcase my work on an all Ireland basis and expand my connections, so a vital reason for applying to become a member.